Romancing Treason' addresses the scope and significance of the secular literary culture of the Wars of the Roses, and especially of its distinctive prose romances. Leitch argues that the pervasive textual presence of treason c.1437-97 suggests a way of conceptualizing the understudied space between the Lancastrian literary culture of the early fifteenth century and the Tudor literary cultures of the early and mid-sixteenth century.
Romancing Treason addresses the scope and significance of the secular literary culture of the Wars of the Roses, and especially of the Middle English romances that were distinctively written in prose during this period. Megan Leitch argues that the pervasive textual presence of treason during the decades c.1437-c.1497 suggests a way of conceptualising the understudied space between the Lancastrian literary culture of the early fifteenth century and the Tudor literary cultures of the early and mid-sixteenth century. Drawing upon theories of political discourse and interpellation, and of the power of language to shape social identities, this book explores the ways in which, in this textual culture, treason is both a source of anxieties about community and identity, and a way of responding to those concerns. Despite the context of decades of civil war, treason is an understudied theme even with regards to Thomas Malory's celebrated prose romance, the Morte Darthur. Leitch accordingly provides a double contribution to Malory criticism by addressing the Morte Darthur's engagement with treason, and by reading the Morte in the hitherto neglected context of the prose romances and other secular literature written by Malory's English contemporaries. This book also offers new insights into the nature and possibilities of the medieval romance genre and sheds light on understudied texts such as the prose Siege of Thebes and Siege of Troy, and the romances William Caxton translated from French. More broadly, this book contributes to reconsiderations of the relationship between medieval and early modern culture by focusing on a comparatively neglected sixty-year interval — the interval that is customarily the dividing line, the 'no man's land' between well—but separately-studied periods in English literary studies.
Middle English literature is intimately concerned with sleep and the spaces in which it takes place. In the medieval English imagination, sleep is an embodied and culturally determined act. It is both performed and interpreted by characters and contemporaries, subject to a particular habitus and understood through particular hermeneutic lenses. While illuminating the intersecting medical and moral discourses by which it is shaped, sleep also sheds light on subjects in favour of which it has hitherto been overlooked: what sleep can enable (dreams and dream poetry) or what it can stand in for or supersede (desire and sex). This book argues that sleep mediates thematic concerns and questions in ways that have ethical, affective and oneiric implications. At the same time, it offers important contributions to understanding different Middle English genres: romance, dream vision, drama and fabliau.
Written in diary format this title features excerpts from the twins' letters and e-mails to one another. Mary-Kate has decided to move back to Chicago, but Ashley refuses to leave their new boarding school. The twins have never been apart before - how will they cope?
The national bestselling author of No Greater Pleasure delivers a new novel featuring a reluctant student of seduction. To escape an arranged marriage, Annalise Marony decides to become a Handmaiden of the Order of Solace. But she is thwarted at every turn by Cassian, a teacher of the faith, who must test her dedication. Older than most of the girls, Annalise knows that she will be expected to please a patron in pleasures of the flesh-and she is not shy about teasing Cassian. And as they both play out the game of master and student, the secrets in their souls will either tear them apart-or bind them together forever.
This ethnography takes the reader into the Australian suburbs to learn about food, eating and bodies during the highly political context of one of Australia’s largest childhood obesity interventions. While there is ample evidence about the number of people who are overweight or obese and an abundance of information about what and how to eat, obesity remains ‘a problem’ in high-income countries such as Australia. Rather than rely on common assumptions that people are making all the wrong choices, this volume reveals the challenges of ‘eating healthy’ when money is scarce and how, different versions of being fat and doing fat happen in everyday worlds of precarity. Without acknowledgement of the multiple realities of fatness and obesity, interventions will continue to have limited reach.
Misty (Mary-Kate) and Amber (Ashley) are sent to Rome to find out why the Hipslovan gymanstics team is able to perform super-human flips, jumps, and vaults.
Romancing Treason examines English literature written during the Wars of the Roses. Focusing on the the theme of treason, Megan Leitch suggests that the idea of a literature of the Wars of the Roses offers a way of understanding an understudied period.
Middle English literature is intimately concerned with sleep and the spaces in which it takes place. In the medieval English imagination, sleep is an embodied and culturally determined act. It is both performed and interpreted by characters and contemporaries, subject to a particular habitus and understood through particular hermeneutic lenses. While illuminating the intersecting medical and moral discourses by which it is shaped, sleep also sheds light on subjects in favour of which it has hitherto been overlooked: what sleep can enable (dreams and dream poetry) or what it can stand in for or supersede (desire and sex). This book argues that sleep mediates thematic concerns and questions in ways that have ethical, affective and oneiric implications. At the same time, it offers important contributions to understanding different Middle English genres: romance, dream vision, drama and fabliau.
Based on the movie about two sisters, Tess and Emily, who take out an ad to find their father a girlfriend after their mother dies. Except the ad is on a forty-foot-tall billboard, and now every woman in Los Angeles is after their dad!
During the first decades of the 21st century, a critical re-assessment of the reenactment as a form of historical representation has taken place in the disciplines of history, art history and performance studies. Engagement with the reenactment in film and media studies has come almost entirely from the field of documentary studies and has focused almost exclusively on non-fiction, even though reenactments are being employed across fiction and non-fiction film and television genres. Working with an eclectic collection of case studies from Milk, Monster, Boys Don't Cry, and The Battle of Orgreave to CSI and the video of police assaulting Rodney King, this book examines the relationship between the status of theatricality in the reenactment and the ways in which its relationships to reference are performed. Carrigy shows that while the practice of reenactment predates technically reproducible media, and continues to exist in both live and mediated forms, it has been thoroughly transformed through its incorporation within forms of technical media.
This book explores musicalizations of Arthurian legend as filtered through specific versions of the tale as told by Mark Twain, T.H. White, and Monty Python. For centuries, Arthurian legend with its tales of Camelot, romance, and chivalry has captured imaginations throughout Europe and the Americas. In the twentieth and twenty-first centuries, musical versions of King Arthur and his Knights of the Round Table have abounded in the United States, shaping the legend for American audiences through song. The ever-shifting, age-old tale of King Arthur and his world is one which thrives on adaptation for its survival. New generations tell the story in their own ways, updating or enhancing the relevance for a fresh audience. Taking a case study approach, this work foregrounds the role of music in selected Arthurian adaptations, examining six stage and film musicals. It considers how musical versions in twentieth and twenty-first century popular culture interpret the legend of King Arthur, contending that music guides the audience to understand this well-known tale and its characters in new and unexpected ways. All of the productions considered include an overtly modern perspective on the legend, intruding and even commenting on the tale of King Arthur. Shifting from an idealistic utopia to a silly place, the myriad notions of Camelot offer a look at the importance of myth in American popular culture"--
Meet Mary-Kate and Ashley, the Tween Queen Twins! Your new best friends have just arrived... Ashley HATES school uniforms. But she wrote an article about dress codes for the school newspaper - and now everyone thinks she LIKES them. Students at White Oak Academy might have to wear uniforms - and they're blaming Ashley! Mary-Kate agrees to help Ashley ban uniforms forever. But they'll have to work fast - or face a fashionless future! By Megan Stine.From the series created by Robert Griffard and Howard Adler.
The annual Spring Fling's coming up and Mary-Kate and Ashley have hot dates for the dance. At least they think they do - until they find out their dates have asked other girls instead. Should Mary-Kate and Ashley just go ahead and get new dates for the dance? Or should they get revenge?
Meet Mary-Kate and Ashley, the Tween Queen Twins Your new best friends have just arrived... The good news is -- Mary-Kate made the White Oak winter sports team The bad news is -- she has no money to buy her own snowboard. She asks Ashley to help her, but Ashley has problems of her own. She's trying to win a dream job at a hot new fashion magazine. Should they break the rules to get what they want? By Megan Stine. From the series created by Robert Griffard and Howard Adler.
Mary-Kate leaves White Oak Academy--and Ashley--after Ashley writes about her in the school gossip column, and the pair muddle through their separation by writing in their diaries; based on the real-life twins' television series.
This innovative history of the Okefenokee Swamp reveals it as a place where harsh realities clashed with optimism, shaping the borderland culture of southern Georgia and northern Florida for over two hundred years. From the formation of the Georgia colony in 1732 to the end of the Great Depression, the Okefenokee Swamp was a site of conflict between divergent local communities. Coining the term “ecolocalism” to describe how local cultures form out of ecosystems and in relation to other communities, Megan Kate Nelson offers a new view of the Okefenokee, its inhabitants, and its rich and telling record of thwarted ambitions, unintended consequences, and unresolved questions. The Okefenokee is simultaneously terrestrial and aquatic, beautiful and terrifying, fertile and barren. This peculiar ecology created discord as human groups attempted to overlay firm lines of race, gender, and class on an area of inherent ambiguity and blurred margins. Rice planters, slaves, fugitive slaves, Seminoles, surveyors, timber barons, Swampers, and scientists came to the swamp with dreams of wealth, freedom, and status that conflicted in varied and complex ways. Ecolocalism emerged out of these conflicts between communities within the Okefenokee and other borderland swamps. Nelson narrates the fluctuations, disconnections, and confrontations embedded in the muck of the swamp and the mire of its disorderly history, and she reminds us that it is out of such places of intermingling and uncertainty that cultures are forged.
Engaged debate among feminist, political, and psychoanalytic thinkers has secured Julia Kristeva's status as one of the most formidable figures in twentieth-century critical theory. Nevertheless, her precise relevance to the study of literature - the extent to which her theory is specifically a literary theory - can be hard for new readers to fathom. This approachable volume explores Kristeva's definition of literature, her methods for analyzing it, and the theoretical ground on which those endeavors are based. Megan Becker-Leckrone argues that Kristeva's signature concepts, such as abjection and intertextuality, lose much of their force when readers extract them from the specific, complex theoretical context in which Kristeva produces them. Early chapters situate her theory in a broader conversation with Roland Barthes, Sigmund Freud, Jacques Lacan and others around the issues of reading, textuality, and subjectivity. Subsequent chapters look at Kristeva's actual engagements with literary texts, specifically her challenging, highly performative reading of French novelist Louis-Ferdinand Céline in Powers of Horror: An Essay on Abjection and her career-long preoccupation with James Joyce. A final chapter of the book looks at the way contemporary literary critics have marshaled her ideas in re-reading the poetry of William Wordsworth, while a helpful glossary identifies Kristeva's most pertinently "literary" theoretical concepts, by way of synopses of the texts in which she presents them.
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